I’ll be attending PulpFest in Columbus, Ohio from Thursday, July 21 to Sunday, July 24. If you’re at the con, please stop by the Meteor House table, where I’ll be signing copies of Blood of Ancient Opar, which debuts at the show (otherwise shipping in early August). I’ll also be at the following events:
I recently had the pleasure of returning to Pulp Crazy, this time to talk about Blood of Ancient Opar and also to read aloud the book’s first chapter. Check it out on the embedded YouTube video below or download the mp3 audio file from Pulp Crazy’s website here.
Meteor House has kindly shared with me the cover wraps for Blood of Ancient Opar, which debuts in July at PulpFest (otherwise shipping in early August). Cover art by Bob Eggleton, design by Keith Howell.
Blood of Ancient Opar is one part thrilling adventure in the pulp tradition, one part exploration of human nature, and one part solemn family drama worthy of Kurosawa, and if another drop of ink is never expended on Opar, then no better capstone could be asked for than Blood of Ancient Opar.
I’ve been very fortunate to have Bob Eggleton illustrate a number of my books. The cover paintings for my duology of novellas set in Philip José Farmer’s Ancient Opar—Hadon, King of Opar and Blood of Ancient Opar—are particularly stunning and define, respectively, Opar and its adjoining valley in my mind. In fact, the artwork inspired scenes that I incorporated into the narrative of both novellas. Bob, of course, also painted a striking, apocalyptic panorama of Khokarsa, the larger empire of which Opar is a part, details of which grace the covers of the Restored Edition of Flight to Opar and The Song of Kwasin.
I’m a reader that likes to hold a book in my hand before I purchase it, and I know I’m not alone. So here’s a page-through video tour of the new Meteor House reprint of The Song of Kwasin to give you an idea of the bounty of bonus materials featured in this definitive edition of the novel.
Farmer was the banquet speaker at the Burroughs convention. He was introduced by Burroughs Bulletin founding editor (and close friend of Phil and his wife Bette) Vern Coriell, who remarked during his introduction that the only reason Phil hadn’t won a Hugo Award that year is because they didn’t have a category for “Biography.” The previous year, Doubleday had published Phil’s Tarzan Alive: A Definitive Biography of Lord Greystoke.
As a prelude to this announcement, Farmer discusses Tarzan Alive and his anthology on feral humans, Mother Was a Lovely Beast. The Ancient Opar announcement is at the 10:12 mark.
Listen to Philip José Farmer’s complete banquet address to the Burroughs Bibliophiles below.
Some interesting observations about the address:
You can hear Phil pronouncing the name “Hadon,” the hero of Hadon of Ancient Opar and Flight to Opar. Just as he indicated in his article “The Khokarsan Language” (available in the Restored Edition of Flight to Opar published by Meteor House in 2015), he pronounces the “a” as “a low central spread vowel (as in Spanish)” and the “o” as “a mid-back rounded vowel (as in Spanish).” On other words: “Hä-dōn.”
Phil announces that Richard Corben would illustrate the cover of the first edition of Hadon of Ancient Opar. However, plans must have changed along the way, since Roy G. Krenkel ended up as the final cover artist. Corben later went on to illustrate the 1975 Fokker D-LXIX Press edition of A Feast Unknown.
Phil mentions that he envisioned the Ancient Opar series would encompass about ten books. He lived to write only three novels in the series (Hadon of Ancient Opar, Flight to Opar, and The Song of Kwasin), but the tale of Khokarsa continues to unfold in books such as Exiles of Kho, Hadon, King of Opar, and the forthcoming Blood of Ancient Opar.
Phil mentions Frank Brueckel and John Harwood’s essay on the history of Opar, which inspired his Ancient Opar series. While the lengthy article was then scheduled to appear in the Burroughs Bulletin, it never did. Many years later, however, the monograph was finally published in the book Heritage of the Flaming God, ed. Alan Hanson and Michael Winger, which is available here.
The “Ian” whom Phil calls out to in the audience in regard to the publication of John Flint Roy’s A Guide to Barsoom is publisher Ian Ballantine.